Good evening. I'd like to start with a few short poems in a language I invented. It's called Onderlands, or so to say the language of the Underlands as a parallel to Netherlands. De Onderlandische Sprake. You don't have to worry that you miss anything in the way of meaning, because there is the oldest. Not everyone can say what their daughter, Rikkel, says. But, also... Hello, there you are, the other one, the Kree girl. Oh, so many things to say. To me, to my daughter, what does the Kree girl say? De meus de kree dochter. Baf meus de kree dochter. Zo dat weerdige vuistel ook afwaaien. Kree toogt rikkelij in mijn eindochter. Zazamu, zo dachtera da je ook. De meu vuinden liegen ze me nou niet te wenen. The ZE ZINGEN *** Yn ystod y ddewr, mae'r ffwrdd yn ystod y ddewr.... Cyd-dworma so sif c-byn, byn erf hap y dwor shton. C-chwf, b-sif, hap y soma. Lwm, so ma chwf c-byn, dwor hap y dworma. Sif, so ma chwf ma erf, be lwm civ, zo ke ma guf ma irf. Belum, ke belum, ke lo. Bun, hape. Bun, dvor. Zo ziv, zo ma irf. Ke guf, pe guf, ke ma zo. Bun, hape. Bun, dvor. Even zo... Buen habe... Buen door... Hulabio! Malanie hamme... glach zou zou... Hamme nil noo! Zou mawe glach... MUZIEK Hallo, Daniel! Dat is waar, dat is het Onderlandse drinklied, de Onderlandse drinking song. En nu een korte historische intermezzo. Ik zal wat korte poëten van Theo van Doesburg lezen. Een Nederlandse artiest en founder van de arts the arts movement and magazine De Stijl. Letter Klankbeelden, letter sound images. I'll read number one, two, and three. 1921. One. Shhh. Shhh. Shhh. Shhh. Shhh. Oh. Oh. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. Three. No. Now, from Theo van Doesenbergh to his friend Kurt Schwitters. Kurt Schwitters wrote a number of poems that consist only of numbers. And out of these, I will present 12 or 12. One. No, I will do it in German, the original. Eins, zwei, drei, vier, fünf. Fünf, vier, drei, zwei, eins. Zwei, drei, vier, fünf, sechs. Sechs, fünf, vier, 5, 6, 6, 5, 4, 3, 2, 7, 7, 7, 7, 7, 8, 1, 9, 1, 10, 1, 11, 1, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1. Noch ein kurzes Gedicht von Kuschw Obervogelsang, a pervert song. One of the most famous works of Schritters is the so-called Ursonate, or sonata in primordial sounds. I will not present this piece now, this is about 30 minutes. In the 1980s it was prohibited by the son of Kurt Schritters, by Ernst Schritters, to record or perform any of the works of his father. I was invited to make an LP of the Urs Donate for Willem Broecker's BWH's label. And then we had sent several requests for permission to the son of Kurt Schritters, but no answer. And then Willem Broecker said, well, forget that. We'll put out the LP now. And so then after a few months there came a letter from the lawyers of the publishers, out of which I will cite a few lines. of the publishers, out of which I will cite a few lines. Well, if you know German, you will still have understood that it's not all too friendly. what the German government is doing for you. this problem of copyright, I would take the scherzo from Ur-Sonata and recite it from the beginning to halfway, but then backwards to the beginning, so I would have taken my words back, as it were, and not have recited the poem at all. And it's a nice demonstration also that sound poetry, if it's good, good sound poetry, when you read it backwards, it could still be pretty good sound poetry. Here we go. like a dr. Oh. always always always always always From Kurt Schwitters to Raoul Hausman, one of the data is his sound poem entitled Alptraum or Nightmare. Mwawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawawaw. Rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr Yeah. Гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы-гы- Ну, господи, ха! Oh, wach zu! Oh, wach zu, wach zu, wach zu. Ho! O8, o8, o8. O9, 8, 7, 5, 6, 7. Uit, uit, uit. U9, 8, 7, 5, 6, 7. 8, 10, 11, 12, 13, 14, 15, ten, eleven, ten, eleven, ten, eleven, ten, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, ten, eleven, I'm going to go to bed. I now present a piece inspired by a trip to Indonesia where you can hear the standard expression jam karet, which means like the hour or the time is made of rubber. So it's, you can stretch it as much as you need. A very handy excuse when you're, when the bus is late or in similar situations. And I decided to make a musicaret, a music made of rubber, where I used the names of some instruments of the gamelan of Java and will apply some stretching to them.... Gaman kaju, ka tuk tuk tuk, Ginde panek mbung, bonang barung, Kempiang piang, kencang bacang, Ka tuk tuk tuk tuk, chelek mbung, Ba tuk tuk, gong na gung, Bye-bye. Sue! Gaman kaju, kitu, kinjil, panek embung, 문항 바룡 아룡 아룡 아룡 아룡 아룡 아룡 금평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평평 do uh SOOOOOO Lama kaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, vaju, v Asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu asu Bukannya... Bonang barunga... Runga... Runga... Runga... Runga... Runga... Kepiang-piang... Piang-piang... Piang-piang... Piang-piang... Kenjang bacangan... Bacangan... Bacangan... Pian, pian, pian. Kencang bacaan, bacaan, bacaan, bacaan, bacaan, bacaan, bacaan, bacaan, bacaan. Cili empuk, empuk, empuk, empuk, empuk, empuk, empuk. I don't know. Teksting av Nicolai Winther Electroshock theory. The phases of psychiatric disorders is still to be demonstrated. And electroshock therapy remains the phrases of with refractory patients, but many international associations of action, procedure and electroshock therapy. The 1980s. the 1980s. After that, it is an efficient, safe, and adverse effects of many where the most efficient treatment for several psychiatric disorders is used with the publication of that utilization, namely depressive disorder, bipolar disorder, and even with refractory patients, but many procedures of psychiatry. Even life-saving treatment of magnetic stimulation could put electroshock therapy still to be demonstrated and schizophrenia many were the doubts with it is an efficient safe and electroshock therapy is still used with very good results, namely with affective disorders. Nowadays it became more accepted with the 1980s, after that technique in comparison with it became more accepted with electroshock therapy. The doubts with affective disorders. Nowadays it is used with the history, indications, mechanisms of many procedures of electroshock therapy as a secondary treatment of electroshock therapy is still used with refractory patients, but the publication International Ja, lasst uns dann mal auf das Land ziehen. Landsparty. Ja, lass uns dann mal auf das Land ziehen. Landpartie. Endlich war es soweit. Heute war der Tag unserer Landpartie. Wir würden aufbrechen, die Hefegründe zu erkunden. Das Wetter war prächtig und wir waren froh, endlich einmal für ein Weilchen aus unserem Schlagbaumbed mit seiner Lehmzucht wegzukommen. Das Sommerkreuz begleitete uns auf den ersten Teil unseres Ausflugs, der uns entlang des Lilienbaches führte. Wir sprachen wenig und genossen den Flurschein und das Relicht des jungen Morgens. Niemand begegnete uns, es grüßte uns einzig ein einzelnes Kieselschaf. Landpartie, Landpartie, so je hymni manu meo, deida bo kimas mekau. Landpartie, Landpartie. Inzwischen stand die Sonne hoch am Himmel. Wir hatten die Klee-Grenze passiert und waren ins Vorüberland gekommen. Die Hirschstille ließ uns flüstern. Vorsichtig überquerten wir eine Meuchelwiese voller Rabenschwamm und Rosengrinsen. Noch keinen Ohrschimmer des Alda-Alvo-ohans, der ja erst beim späteren Mond erwacht. Leise raschelte ein Irrkaninchen vor uns auf und davon. War es nur still oder war dies eine Argruhe? Schoss da ein Dessihun ins Unterholz? Lanzpatschi, Lanzpazzi, Lanzpazzi, so je que mi, manu mio, di da bucchi, mas me ca hu, Lanzpazzi, Lanzpazzi. Der Truglenz schlug um und wir hatten keinen Nebelführer. Wir meinten, eine Geradewegsallee genommen zu haben. Doch muss es ein Hagenschlagweg oder ein Kreiselpfad gewesen sein, der uns über eine Unterkurve durchs Quergras in dieses Sudeltal führte. Ob das die Eberflanke ist, wo das Kehrschwein haust? Ein Übelgrüllen im Tangwald, der Albeinkater oder der Schwunzel vom Muttchenhund. Landpartie, Landpartie, Landpartie. Verloren. Das Nachbar-Firmament gesehen, also am Weltenende. Wir kommen um. Bloß wie? Im Mulmstrom, im halben Feuer im Windungsdunkel, durch Moosblitz und Donnermaulwurf am Winterstachel. Yes, I am from the scientific part of this scientific part of the performance, but one of my phonetic etudes, this one is about my favorite letter from the alphabet, the R. Favorite because it has so many different pronunciations. You can have the R, some languages, or the R, or the R, or the American so-called retroflex R. So I made a study of that and many pronunciations of the R entitled Rotic. Hrm. Grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr Wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow, wow,... Rawr, rawr, rawr, rawr, rawr. Rawr, rawr, rawr, rawr. Rawr, rawr, rawr, rawr. Rawr, rawr, rawr, rawr. Rawr, rawr, rawr, rawr. Rawr, rawr, rawr, rawr. Rawr, rawr,, oh, oh, oh. Rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr Oh, my God. sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-sc-c-c-c-c-c-c-c-c- wha wha wha wha wha wha wha wha wha wha wha wha wha Cuba Blue. blue I I the love ¶¶ Na na na na La li la La li la La li la Na mi omo Na mi omo Wa konga Mi ma mo i Ie ma Zon zu Zon zu se Nya na ma no me So Yeah, no, no me mama Gee Gee Miss mommy I Miss my me No more no more no more me no more No ¶¶ jdou na mě, se slyší, re, re, re do, re, re, re do. Dadať do vědenčeče, dadať do čečečeče bange, Nats, do chit chit chit, chibange. Choo, chit chit, chiba nobe, mo na. Da ga, guana mano, chigame. Dekotas, petukas, guana ma vastone. Vaya, menas, gobe, pobe, donde te de. In a mo. by a man's God, they're popping on the. You know. We've done you know, we're going to know we're going to know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, know, Mano veo! El son. Thank you. Yes, be the death, be the death, be in the middle of the square. Oh, I saw a wop-sack in the middle of the square. So I asked, hey, wop-sack, what are you doing there? Oh, whoop-sack cried out, who dares to ask me? A wubzek cried out, Who dares to ask me? So I answered, I answered You got no right to be I don't know. Chris! I don't know. We will not be attacking. Warp tag! Intense smoke! High up in the sky! Warp tag! Intense smoke! high up in the sky whoopsie in thin smoke high up in the sky oh so I said to myself my my my my my my my, my. My, my, my. My, my, my. I, I don't know why! And as a conclusion, I offer my version of Roy Orbison's In Dreams. A candy-colored clown they call the Sandman tiptoes to my room every night just to sprinkle stardust and to whisper, go to sleep. Everything is alright. I was in a civil war I was in a civil war A candy-colored clown they call the Sandman took dose to my roots every night just to sprinkle Stardust into wisdom. Go to sleep. Everything is alright. I close my eyes. I close my eyes. Then I drift away. Then I drift away. Into the magic night I softly say a silent prayer Like dreamers do I softly say a silent prayer like dreamers do Then I fall asleep to dream, to dream, to dream my dreams of you, my dreams of you. I close my eyes, then I drift away into the magic night and dream. In Träumen wandere ich mit dir. In Träumen spreche ich zu dir. In Träumen bist du mein, alle Zeit, die wir zusammen sind. In Träumen, in Träumen. you in dreams i talk to you in dreams you're mine all of the time we're together in dreams in dreams in dreams i walk with you in dreams i talk to you In dreams you're mine All of the time we're together In dreams In dreams In dreams In dreams I walk with you In dreams I talk to you In dreams you're mine All of the time we're together In dreams In dreams But... But... But But Just before the dawn I awake And find you gone I awake And find you gone I can't help it I can't help it I can't help it If I cry Just before the dawn I awake and find you gone I can't help it I can't help it If I cry I remember that you said Good night It's too bad That all these things I remember that you said good. It's too bad that all these things can only happen in my dreams. Only dreams. Beautiful dreams. Only dreams. In beautiful dreams Only in dreams In beautiful dreams herzlichen dank den ich gleich bei mir begrüßen darf du Du kannst dich da übersetzen. Wir werden das Interview dann auf Englisch führen. Vorab vielleicht noch kurz zum Gewinnspiel. Wir haben schon die ersten Einsendungen. Ich darf spoilern, es ist keine wirklich ganz dabei. Das heißt auch die schon gespielt haben, dürfen gern es noch einmal versuchen. Die Leitungen in die Mailbox sind noch offen. Die Frage war eben, wie viele Musiker und Musikerinnen haben seit Anfang, seit 1987 beim Festival performt. Die Lösungen sind zu finden. Info at musicallimited.at ist die E-Mail-Adresse, wo Sie die Lösung hinschicken können. Aber jetzt vielen, vielen Dank an Sie, Jörg Blank, für diese w performance and even the performances of the last two days. Thank you so much. We are happy to have you as kind of a co-MC of this festival. I really would like to start with one question which comes in mind. How important is humor in your kind of performance? I think it's important not in the way I will never like really think of how can I make people laugh but I'm happy that humor seems to be a natural ingredient of my performances and I think it helps also well some of the things are sort of scary or sad and then when there's humor at some point to counterbalance it I think people can take that much better. So you wouldn't mind if people would laugh at your performance? No, that's fine. Have you ever been accused of mocking some, I think especially of the last thing Roy always covers, that you mock these performances? No, I think it's probably kind of a weird piece, but I'm not mocking it, no. I love his songs. So it's a weird homage on the program. Yeah, sort of. Actually, the accompaniment contains his whole song, but played backwards in different sections. Okay. And you mentioned before that you also have kind of sad pieces, like this electroshock therapy with this which was kind of really shocking scary for some people and like performed yesterday the Hugo Ball tottenklage the dirge so that Electroshock therapy this text is from you Well, it's a scrambled text about electroshock therapy so I put some algorithm on it to scramble it and the phrases yeah but it's originally a descriptive text about yeah. So this was also quite obvious that you take poems to perform, you take song texts, and you also take, do like original epic texts, kind of like magazines or something. So I think it doesn't matter which kind of text, you can perform everything. Yeah, I think so. What I discovered very early on when I was performing sound poems and some also poems in real existing languages that a text can also be like a basis for improvisation in the sense that you don't change the text but you change the the way you perform it and it's that's kind of analogy to like a jazz piece when the chord sequence is always the same but the solo is different every time. And here the text can be the same but the performance, the parameters, the tempo dynamics and everything and pitch can be very different every time. Whereas this text stays the same. So that's a very fruitful way to work with text for me. And how is your approach, if you work on text, like especially because you're quite famous for it, Kurt Ritter's Horsenate, how is the approach in kind of rehearsing or performing such a piece? Well, yeah, the Horsenate, I was learning this piece about 40 years ago. I had no intention to be a vocal performer in public at all, but just for fun that I was rehearsing sections of it and learning it until I sort of naturally noticed that I had almost learned it by heart. And then a friend of me asked me, can you perform it on my birthday party? So I put a little had almost learned it by heart, and then a friend of me asked me to, can you perform it on my birthday party? So I put a little more effort in it, and then, well, at that age, it was probably easier for me than now to learn such a long text by heart. And then, yeah, I experiment with text, and at some point, I studied phonetics and tried to do everything you can do with the letters of the alphabet. And so I put that into my work with text as well. You even performed the letter of the lawyers you got from because of the release of William Broeckers' label. Do you know why Ernst Schwitters denied the publication? Well, I think it goes totally against the wish of Kurt Schwitters because he wanted to have a future performance of his pieces. But at some point, Kurt Schwitters in his last years in England, he tried to make a recording of Ursonate. He was in England and he, so at some point he invited, with the help of some friends, some people of the BBC radio were invited at a performance of his and hopefully, he hoped to make, that they could make a recording, but they thought, well, this is crazy, he's some old fool, and they went away before the piece ended. So, and then he was very sad, and he wrote his letter to his son. I have made two masterpieces in my life, which one is the Metzbau in his house in Hannover, which was destroyed by bombs, and the second one was the Ursonat, and now that will, I wasn't able to record it, so that's lost also. So I think, I don't know, but I think Aaron Schwitters, the son, took that as a statement so that nobody else should perform it. But then in the instructions that Schwitters wrote, it's clear that he wanted future performers. And you did it quite well. Or even famous for it, because we spoke yesterday that there is a kind of a really special video online from a performance which you do with typography. Yeah, that's this typography made by Golan Levin, an American pioneer of interactive visuals and so. And yeah, the complete piece, you can find it on Vimeo with the typography. You also were supposed to play at the festival, the original festival, with your band Retirement Overdue. Can you tell a little bit about this band, which we unfortunately cannot hear today? Well, actually there was a stage before that. Originally we would play with the quartet Jeja Vida, with Jeb Bishop, Damon Smith and Weasel Walter but they are in the United States so it was early on clear that they wouldn't be able to come and then I suggested can I have my quartet this band that I conceived in the year when I was turning 65 and I called it Ja Blanc's Retirement Overdue and then it was a wish to have another US citizen so I asked Michael Moore whom I respect a lot and have worked with in the past to join the band and so we were to appear here with Michael Moore and then the original band members Jasper Stadthouders, Miguel Petruccelli and Frank Rosalie. And Michael learned my pieces, I arranged them, and we had a rehearsal, but then it fell through. But there might be a next time, and we hope. I hope so, yeah. It's a wonderful band, so I hope we can at some point. One last question, because I'm really quite curious. You mentioned that you created a language. So you created one language? Oh, no, I have more. Well, this language of the Underlands is the most developed. I have like maybe 15 texts in it. But there are other ones. One is called Ingle Twist, which is more based on the English language. But the more you work with other languages, if you make an invented language, you have to be very careful because you could use words that exist that you don't know about. I had this experience, for instance, I was reciting the Ursonate in primary schools in Holland, and there's this passage that goes like, Bem, Bem, Bem, Bem, and then some kids started to laugh, and it turned out that these were Turkish kids, and Bem means I, I, I. Okay, so you might be careful. But when you develop a language, you do it really like you develop the vocabulary, the grammar, so even that someone else can perform it or use the language or is it just for you for performance? Yeah, other people could perform it, but I also use computer algorithms to generate text. I'm more now also into use all the kinds of typographic signs like commas, colons, underscores, and so to try to interpret those in ways that each has a different sound and so. But yeah, and then, but there is a lot of freedom for other people. If, well, part of it is the International Phonetic Alphabet. I'm still using that a lot, but also a lot of other signs that I devised that for sounds that are not represented in the international phonetic alphabet. For instance, all the sounds where you have to touch the face and so on, they are not in the international phonetic alphabet, of course, because no language exists where you would have to use your hands to speak. That would be very awkward. But it's quite great if you perform it. So thank you very much for this performance. We will hear more of you today even because you are kind of special guest at the duo, which we are now about to hear. And I can spoil it that you will be at the end of the festival so you will take us home tonight. Yes, my pleasure. Thank you. It was a great pleasure to have you here for this performance. Thank you very much. I will see you. you